Archives for posts with tag: Muybridge

Eadweard Muybridge (1830–1904), a brilliant and eccentric photographer, gained worldwide fame photographing animal and human movement imperceptible to the human eye. Hired by railroad baron Leland Stanford in 1872, Muybridge used photography to prove that there was a moment in a horse’s gallop when all four hooves were off the ground at once. He spent much of his later career at the University of Pennsylvania, producing thousands of images that capture progressive movements within fractions of a second. I have been lucky enough to see this work in exhibition. Since viewing the exhibition I have noticed the increasing influence Muybridge has had upon my own work. In this instance I will be mimicking his techniques in almost all of my own photography. I believe a Muybridge’s studies in motion to have directly influenced me in my choice to shoot and exhibit my work in stop motion.

The Horse in Motion by Eadweard Muybridge.

Although Eadweard Muybridge thought of himself primarily as an artist, he encouraged the aura of scientific investigation that surrounded his project at the University of Pennsylvania. Published in 1887 as Animal Locomotion, the 781 finished prints certainly look scientific, and historically, most viewers have accepted them as reliable scientific studies of movement. The recent rediscovery of Muybridge’s working proofs, however, demonstrates that he freely edited his images to achieve these final results.

The Horse in Motion by Eadweard Muybridge. &qu...

The Zoopraxiscope.

The zoopraxiscope is an early device for displaying motion pictures. Created by photographic pioneer Eadweard Muybridge  in 1879, it may be considered the first Movie Projector. The zoopraxiscope projected images from rotating glass disks in rapid succession to give the impression of motion. The stop-motion images were initially painted onto the glass, as silhouettes. Some of the animated images are very complex, featuring multiple combinations of sequences of animal and human movement. This creation of Muybridge truly caught my attention and imagination upon viewing, I now have the desire to incorporate this into my own work, although it seems unlikely it would be possible or suitable to exhibit this project.

Simulation of a spinning zoopraxiscope


On receiving the brief to create personal work to later be exhibited I immediately feel it is necessary to create a body of work  that engages its audience with an increased interactivity. After previously experimenting with stop motion imagery, I have decided to adopt the method of capturing images, along with others in creating a video composed solely of still imagery. The concept for the video follows my dissertation hypothesis, exploring the aesthetic beauty of naturally forming fractals.  The investigation into the natural world is a reoccurring element throughout the majority of my personal work, however the choice of concept is in an attempt to connect my practical and more my more problematic theory workings.

In visualizing this concept I propose to create a fracture and fragmented stop motion video containing images of the dispersion of inks in water as a base layer. The images of the inks in dispersing in the water, forming its own natural fractal shapes will become the backdrop to which I will blend images of actual natural forming fractals, (Peacock feathers, spider webs and the branching in tree growth.) This imagery will be made using numerous techniques, predominantly time-lapse Photography and Incredibly high-speed photography.


The Mandelbrot Set Iconic Fractal

This stop motion video will not only be accompanied to an appropriate piece of music, but will however be constructed around the music in a fractal fashion. Many composers and compositions implement fractal-based timing within the construction of there music. The music should evoke strong emotions, with a slow uncluttered intro, leading to a dramatic peak, finally slowly working itself down and fading out. I envisage the music this ‘progressive’ in an attempt to engulf the viewer along with myself in to the ‘narrative’ as I wish to express through the video my own strong and personal ideals regarding the concept.

In the creation of this project I will be undertaking a significant amount of research immediately. Primarily regarding the core concept of fractals. This will initially include the history of fractals to the implementation of fractal geometry today, with everything in-between. Following the primary fractal research will be investigations into other artist working either with similar concepts or techniques. From traditional greats such as Da Vinci and Eadweard Muybridge who’s studies in motion have be c a consistent influence upon my own work.


Da VinciStudies in the Rules of Proportion          


Muybridge ­ – Studies in Motion


To more modern unknown artist such as Perry Burge and Eshel Ben Jacob who beautified photos of bacteria growing in Petri dishes with a bit of color and shading to create an amazing collection, which is rich in natural forming fractal geometry. Finally furthering my research to the search for natural forming fractal elements to develop upon in the creation of the narrative of the video. This portion of the research I envisage to be highly visual.


Perry Burge– Diserpersion of Ink 


                  Eshel Ben JacobBacteria Art

Whilst creating this project, equipment’s and technologies will be employed many of which I have not used before.  Predominantly the majority of the imagery will be shot on a Canon Eos 40D, however I will be utilizing the versatility of the new GoPro 3. The tin camera is predominantly for recording straight HD quality video; it also can shoot bust images of around 20 images a second. This function along with the detail in which the camera is 100% waterproof makes the GoPro incredibly suitable for the aesthetics I visualize for the finished project.  Regarding the technologies and software I am likely to encounter would of course Photoshop. This will be used in the editing of each image ready to be montaged into the individual frame. When each frame is created another software from Adobe called Premiere Pro, which is a editing software for moving image that a have minimal experience with will be employed to seamlessly stich each frame together and to the selected music. Much other software has been suggested to me and which may be called upon, these range from After-effects to Flash.  The visuals are not the only aspect of the work that will be editing, the music will also need to trimmed and cut in certain places, in doing this I am thinking of utilizing a free software called Audacity. Having never edited music before and after a little research around the area, this small but powerful program should be sufficient to my needs.

The problem I am likely to encounter in the creation of the project will primarily be due to the sheer scale of the work. Working with a high volume of images, to which I have estimated numbers will be well into the thousands, the utter amount of images will be overwhelming. If we say the length of the video would be 3.30 minutes (average song Length) then we have 198 seconds of video, and if there are 25 frames per second then the minimal amount of will be 4950, images for the base layer of ink alone. All this editing with the having to coherently edit the whole video to the chosen track I foresee becoming a sizeable setback in my timeframe.